As I walk through London cityscape, and think of myself as totally caught up in the city, I navigate through a painting with my eyes or stroll through a bigger than human size sculpture, while being embodied by an plethora of emotions and feelings. I can rest my eyes while indeterminate going from layer to layer, from colour to colour, perceiving textures and forms; walking along walls of wood, glass, mirrors or empty space. So, how about murals? Like a mural, photograph's force, and related imagery, derives from the displaced possibilities brought in to the conditional conscious space by a performative recreation of endless moments, movements, and objective spaces: a chair hanging by a string, a table, a vase on the wall.
We embody ourselves in it. My body, which through my habits endures my insertions into the human world, does so by projecting me into a natural world. Which can be discerned underlying the other, as the canvas underline the picture and makes it appear unsubstantial. In a cityscape I fluctuate from a square to the nearby street, full of shops or stalls, advertising and outdoors. Phallic symbols! That make me think of Rauschenberg, Klein, or the earlier work, from the 1970s, by Bill Woodrow RA - in particular those that he uses photographs and everyday found objects, like wood sticks or bricks; or, even, the simplicity of the dual relationship between the 'cut-out' host object, in bronze, from the 1980s, which developed into a more complex installation; and recorded people in the sand, or that real starky little boy hidden in the snow from his father; but, it is not like, when an eight years old is telling, to a twenty years old, what and how to do - the twentieth had already been there, experienced it, felt it, gain emotions and memories and moved on. The telling is simultaneously obnoxiously nonexistent and annoying.
The streaming of images is so overwhelming that we're jumping from one mnemonic space to another. On a stroboscopic movement, going from position A to position B, without doing the going. Through painting, sculpture, photography, and any other art form we try to hide our footsteps. Flore Nové-Josserand (Born 1980, Paris, France) uses photography to understand how information is lost or gained in the process of documenting art. Subverted images on ideas of use and beauty, real physical ideas, sculpture for the matter, photos that betray the principals of the disciplines themselves and that are familiar in our life, but she also places in a way that we see them as they are. A real physical space. She goes out on the streets, physically involved with forms, colours - the live green's are richly present, however, felt that was missing some bloody red - forcing us to really physically engage with the world great disciplinary systems.
It has the inspiring presence of representing together the totality of human opposites on society. Make contact with music: Wagner and a little of M.I.A. Her work's nature is something that is not that we can do without; it's our own life adventure. It is almost a policing, a control of the controlling systems to see if we are working or being subversive. It looks like all the exchange of ideas taken place in the dinning room while savouring a tasting meal accompanied by an exquisite wine. A different table, with different people, in different days. The images, shown at
IMT gallery, in Bethnal Green, London, play like an interaction between people.
The photos allow to see how far we can push the imagery. How can photography be? They are hopeful! in the sense of me not being able to resolve the multitude of images out of my sense of identity.
Nové-Josserand has done a lot of photos: one, two, three, ... ten, eleven; it is a rich exchange of physical impossibility on pieces of paper. 'Levitation' (2013) - it can be the first surface with each we can work on at the 'The Scream of the Commode'. It is simple marvellous, it make us think about common objects that we can see in the street, at home, in a park. That are there, occupying their space. If those portrayed/sculptured objects can have their own space why can't we? Do they came out of a false phantasy! We do really have to change the scene, the mnemonic landscape and our physical involvement with it. In particularly movement and depth. Space seems to be only one, of many possibilities.
Any space can be different from out what it is and it does not have any difference at all. Let's try something different, from pre-conceptions and predictability. From all the experience I have, I have to trust my intuition. Be one step beyond while reaching for sensation contacts. At this time we will see it - the space - for the first time.
Flore Nové-Josserand (Born 1980, Paris, France) studied a Diplôme National Supérieur d’Art Plastique (DNAP) with Félicitations (First degree) at the Ecole Nationale Supérieure d’Art de Paris-Cergy, Cergy, France and a Masters of Fine Art (MFA) at the Slade School of Fine Art, London. She has recently exhibited at The Royal Standard, Liverpool (2013); Eastside Projects, Birmingham (2012) and The New Art Gallery Walsall, Walsall (2012). She has participated in residencies at the Academy of Fine Art of Poznań, Skoki, Poland (2007), La Friche Belle de Mai, Marseille, France (2010) and recently took part in the Master Class – Testing Ground at the Zabludowicz Collection.
